The Image of the Actor: Verbal and Visual Representation in the Age of Garrick and KemblePalgrave Macmillan, 1991 M03 15 - 191 páginas The mistake of interpreting 18th-century theatrical portraits too literally has been made since the 19th-century when a different set of artistic codes prevailed. The image of the 18th-century actor which we can obtain from prints, paintings and pamphlets of the time, is not a collection of visual truths, but a construction based on critical canons, aesthetic prejudices, and commercial motivations prevalent during the period. Through an analysis of the importance of theatre among all the pleasures and pastimes enjoyed by 18th-century Londoners the author presents a detailed picture of the cultural climate inhabited by the actor and his audience. The overwhelming fascination they had with the actor provides the background to an analysis of the function of the theatrical portrait, the burgeoning economy of the engraver, and the illustrator. Concepts of classicism and realism are explored in terms of how Garrick and Kemble will have been viewed in their work. The author also draws an interesting analogy between the aesthetics of action and sculptural representation through the work of Siddons, and goes on to consider the representation of the comic actor and how it was informed by art and art theory. |
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Contenido
Introduction | 1 |
Criticism | 7 |
The Theatrical Portrait | 26 |
18 | 47 |
26 | 53 |
Tragedy History Painting and the Aesthetics | 90 |
Caricature Physiognomy and | 123 |
Infinite variety and physiognomy | 137 |
Conclusion | 148 |
90 | 165 |
174 | |
Photographic Acknowledgements | 183 |
Términos y frases comunes
18th century Abel Drugger Abington acting style action actor actors and acting art theory artists attitude audience Beauty became Bell Bell's British Theatre Biography Boaden British Museum Brun's caricature Charles Macklin Churchill classical comic acting comic actor comic character contemporary Cooke Covent Garden David Garrick depiction Discourses Drury Lane edition English Stage engraving Essay farce Figure Folger Shakespeare Library Foote's Gallery Garrick as Abel Garrick Club genre gesture and expression Hamlet history painting Hogarth Human Physiognomy Explained humour idea Illustrations infinite variety Johan Zoffany John Joshua Reynolds judgement Kemble and Siddons Kemble's style London Macbeth Macklin mezzotint moral nature outré painter pamphlet particular passions performance person Physiognomy play popular portraiture prints realism representation represented Reynolds's Richard Richard III role Rosciad Royal Academy Samuel Foote scene sculpture Sheridan Siddons and Kemble Siddons's suggests Theatrical Criticism theatrical portraits Thomas tragedy tragic University Press visual vols London William William Hogarth writers Zoffany's